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Effort underway to reduce federal wildlife kills
WASHINGTON | They say U.S. critter assassins work in secret, quietly laying traps, lacing food with poison, sniping at targets from helicopters. Few people know exactly how the hits go down; the methods are largely hidden.
What's certain is that the little-known U.S. Department of Agriculture Wildlife Services kills up to 3 million animals a year, mostly those deemed a nuisance but also some that agents kill by mistake, including endangered species.
Now, in a turnabout, the hunter is the target. A petition seeks to reduce the power of Wildlife Services and shine a light on its practices, claiming its agents have "gone rogue," overstepping the mission to protect the public by killing indiscriminately.
There's no dispute that Wildlife Services plays a valuable role by eliminating invasive animals such as nutria and starlings that are a menace. But critics have questions: How many is too many? Does the agency euthanize wildlife too often on behalf of farmers and ranchers without regard to ecosystems?
The petition filed early this month by the Center for Biological Diversity isn't the first time that animal rights activists have squared off against Wildlife Services, but this time their coalition includes politicians who agree that the agency is too secret and too deadly. Even some federal workers frown on it; staff members at the U.S. Fish & Wildlife Service quietly dismiss Wildlife Services agents as "gopher chokers."
"Wildlife Services is one of the most opaque and obstinate departments I've dealt with," said Rep. Peter DeFazio, D-Ore. "We're really not sure what they're doing. I've asked the agency to give me breakdowns on what lethal methods they're using. They can't or won't do that. We've asked them to tell us what goes into their poisons. They won't say."
DeFazio and several colleagues requested a congressional hearing on the agency's practices without success, so they pushed the USDA inspector general to conduct an audit.
"The WS program is inefficient, inhumane and in need of a review," the congressmen wrote in a September letter to Inspector General Phyllis Fong. They said that the frequent killings of top predators, such as wolves, bears and coyotes, benefit "a small proportion of the nation's private agriculture" and other interests.
Wildlife Services said in response that it has nothing to hide. Answering questions by email, a spokeswoman said that the bulk of its work is to protect humans.
"For example, we work with the aviation community to protect the public by reducing wildlife hazards at more than 800 airports around the country," spokeswoman Lyndsay Cole said. "Wildlife Services' efforts to protect threatened and endangered species are conducted in more than 34 states. Wildlife Services also operates the National Rabies Management Program, which distributes oral vaccines in 16 states."
The service has consulted with wolf management agencies to … "lessen the negative impacts of expanding wolf populations since the 1970s," she said. In the Rocky Mountains and Great Lakes regions, "the wolf population has reached and exceeded recovery goals" set by managers, she said.
Cole said the agency's kills are guided by a science-based decision-making model. In a 1997 program review, its most recent, the agency described it as "the integration and application of all practical methods of prevention and control to reduce wildlife damage."
"This basically says they can use whatever methods at their disposal, whenever they want," said Amy Atwood, a senior attorney for the Center for Biological Diversity.
Concerns over Wildlife Services spiked last year when agent Jamie Olson posted photographs on Facebook showing his dogs attacking and mauling a coyote caught in a trap, said Camilla Fox, founder and executive director of the nonprofit group Project Coyote, calling it blatant animal cruelty.
Olson acknowledged he made a mistake, "not in his coyote hunting practices but in letting the photos, which he says are more than five years old, be publicly accessible," according to a blog post in the Missoula Independent, a weekly journal in Montana.
In January, Wildlife Services trapper Russell Files was arrested in Arizona for intentionally snaring a neighbor's dog in a steel trap. Before it was rescued, the animal lost 17 teeth trying to chew off its leg.
Cole said Wildlife Services is reviewing the petition from the center and its co-signers - the Animal Welfare Institute, Animal Legal Defense Fund and Project Coyote. The groups said their action is the first step toward a potential lawsuit if the agency fails to respond.
The petition calls Wildlife Services "an out-of-control, rogue agency that shoots, snares and poisons" a million native animals every year, "many unintentionally - including at least 13 endangered species."
It calls on the Obama administration to develop a policy based on ecological science to ensure that the millions of killings carried out by Wildlife Services aren't doing more harm than good.
Wildlife Services has existed under various names for more than 100 years. Its mandate was to remove dangerous animals, particularly those that threatened western expansion.
The list included big and small game, from panthers to prairie dogs, otters and gophers. Invasive starlings from Europe that swarm farms to eat and drop waste in cattle feed are a priority target, as are nutria, also known as swamp rats.
"Not everything this agency does is bad," said Andrew Wetzler, director of the land and wildlife program at the Natural Resources Defense Council. "Whether it's controlling rabies or feral hogs, there is a role for the federal government."
But Wildlife Services doesn't stop there. Since the Herbert Hoover administration in the 1930s, it has legally entered into agreements with ranchers, farmers and private industry, which pay half its costs for killing animals.
Wildlife Services has consistently declined to disclose who they have entered into agreements with and how money is spent, say critics.
"We asked them about data. How much do they use poison, where. How much do they spend renting helicopters to gun down coyotes and wolves," Wetzler said. "The consistent answer we've gotten back … is: 'We don't know.' There's a severe lack of transparency."


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Healthy, Happy Kids
When a woman first learns that she is blessed with a pregnancy, most often her biggest hope is that she will deliver a healthy baby. There is a saying, "If you have your health, you have everything." So true. No one enjoys being sick. I look around and see so many young children who are already clinically obese. My heart breaks for them. I think of their already difficult lives and the life they will lead as an obese, unhealthy adult. Nothing good comes of childhood obesity. Although some children may have a medical condition which lends itself to weight gain, those cases are far and few between, and don't apply to the general population. Overeating, or taking in more calories than are utilized through daily movement can take the joy and childhood out of a child's life. Social stigma weaves its way into daily life, and obese children often become self-conscious, or a target for teasing. Medical remediations can be overwhelming, or at the very least frightening for a child when weight related problems arise due to obesity. Recently, one mother lost custody of her obese son until she learned about appropriate nutrition and he participated in a nutritional program. This mom was considered neglectful to allow her son to become so unhealthy. Much of childhood obesity is due to processed and fast foods which are consumed regularly without thought. Those foods are filled with Omega 6 fatty acids which can cause long term health risks including heart disease, Type 2 diabetes, depression and cancer. Make the decision to scale back on junk foods, and get your kids invested in preparing fresh healthy meals with you. Children learn what they live. Let yours learn how to live a healthy, happy lifestyle. Read the entire article "Parents should serve up a healthy lifestyle".

subset: commoncrawl


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Students learn with Junior Achievement
We talk a lot about helping students understand the importance of entrepreneurship, financial literacy, and work readiness. But what kind of impact can possession of these skills have on your life? Think about it. What are you going to be when you grow up? How much education will you need to pull it off? Where are you going to live? What are you going to drive? How much will all of it cost you? What about your credit? These questions are part of all the serious stuff you need to ask yourself.
You've got a role to play here - and JA wants to help you nail down the part.
We ask volunteers to come into your classroom and talk about important "real world" issues. The programs each volunteer uses are specifically designed to help you begin preparing for a successful future - and to understand that there is no limit to your potential.


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Hurds Pond
Swanville, Waldo, Maine
|Area (acres):
|Perimeter (miles):
|Mean Depth (feet):
|Max Depth (feet):
|Delorme Page:
|Fishery Type:
|No fishery
|Invasive Aquatic Plant Infestation:
|None known
Other Lake & Watershed Information
|% 500-m buffer in natural land cover:
|% 500-m buffer in agricultural land cover:
|% 500-m buffer in developed land cover:
|% 500-m buffer covered by impervious surface:
|Number of dams on the lake:
|Lake elevation (m):
|Length of shoreline (m):
|Shoreline "irregularity index" *:
* This index is the ratio of shoreline length to the circumference of a circle of same area as the lake. The index is also known as the 'shoreline development index'. The greater the number, the more 'irregular' is the shoreline.
Other Lake & Watershed Information is courtesy of The Nature Conservancy: "Northeast Lake & Pond Classification"
Boating & Fishing Regulations for this and other Maine waters are available here.
Boat launches
Hills and mountains
Nearby lakes
Distance is measured from lake centroid to lake centroid
- Nichols Pond 1.47 miles northwest
- Smith Pond 2.03 miles northeast
- Upper Mason Pond 2.03 miles southeast
- Lower Mason Pond 2.30 miles southeast
- Cain Pond 3.05 miles east
- McClure Pond 3.46 miles east
- Toddy Pond 4.40 miles northwest
- Ellis Pond 5.13 miles west
- Mill Pond 5.13 miles east
- Swan Lake (Goose Pond) 5.22 miles north
Help Lake Stewards of Maine track ice-in and ice-out dates for your lake!
Click here to see a map of completed form entries (surveys) on an interactive map, and learn how data is collected and used by Lakes Stewards of Maine.
Invasive Aquatic Plants: Where are they?
As of early 2022, there were 7 species of invasive aquatic plants in Maine - in a total of 32 waterbodies (or groups of closely associated waterbodies). The most common taxon is Variable leaf milfoil (found in 25 waterbodies). Explore DEP's maps and background materials.
Hogan & Whitney Ponds: Close but dissimilar neighbors
Viewed from a drone or satellite image, one might expect that these 2 ponds would be as alike as "two peas in a pod". But they are not. Find out why!
"The Maine lake full of sunken steamboats"
During the boom years of tourism at Moosehead Lake, numerous steamboats offered cruises to visitors. By the 1940s, however, this industry was in decline and many of the boats were scuttled. BBC Travel has recently published an interesting piece about this history.
Lake Stewards of Maine Webinars
Heavy Metals, PFAS, Cyanotoxins in Maine Lakes – Risk assessment approaches to Toxic Substances
Friday, August 12th, 2022 at 4:00 PM
Presented by Breana Bennett
This presentation will discuss how Maine CDC determines how much is too much chemical contamination in fish tissue and how that is considered in deriving fish consumption advisories. This will be discussed in the context of the statewide fish consumption advisory for methylmercury and the emerging PFAS contaminants. The presentation will also discuss the challenges in developing advisories for harmful algal blooms.
Videos from past webinars:
Video: Panel: Experience of Alum Treatment as Lake Association (July 15, 2022)
Video: Overview of Climate Change in ME (June 17, 2022)
Upcoming Webinars shared here are free & open to the public!
Hurds Pond
Terms of Use: click here »


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The Stone-Age Mind in an Information-Age Situation
Posted by The Situationist Staff on August 28, 2008
From Shankar Vedantam's Washington Post article "Why Fluff-Over-Substance Makes Perfect Evolutionary Sense":
* * *
Consider these scenarios.
Scandal A: A prominent politician gets caught sleeping with a campaign aide and plunges himself into an ugly paternity dispute — all while his cancer-stricken wife is fighting for her life.
Scandal B: A prominent politician's signature health-care plan turns out to have been put together badly, and he is forced to confess that the plan will cost taxpayers billions more than expected.
It's a no-brainer which scandal is likely to catch — and keep — our attention. The interesting question as the presidential election heads into the homestretch is why we care more about some stories that do not affect us directly, even as we tune out other stories that do.
* * *
. . . . Why are we more likely to discuss a gossipy rumor at a party than a policy error that can actually make a material difference to our own lives?
One explanation is that cultural mores attune us to certain stories — we live in an era where gossipy scandals rule. To test this, psychologist Hank Davis at the University of Guelph in Ontario examined hundreds of sensational stories on the front pages of newspapers in eight countries over a 300-year period, from 1701 to 2001.
Remarkably, he concluded that the themes of sensational news were identical not only across the centuries but also in diverse geographic locales — from the United States to Bangladesh, from Canada to Mauritius. . . .
The stories were sometimes about important things and sometimes not, but they nearly always involved the kind of themes that people who are part of small groups like to know about one another: lying and cheating, altruism and heroism, loyalty and disloyalty.
* * *
Davis and other evolutionary psychologists argue that the reason John Edwards's adultery has more zing in our heads than a dry policy dispute that could cost taxpayers billions of dollars is that the human brain evolved in a period where there were significant survival advantages to finding out the secrets of others. Since humans lived in small groups, the things you learned about other people's character could tell you whom to trust when you were in a tight spot.
"We are continuing to navigate through the modern world with a Stone Age mind," Davis said.
In the Pleistocene era, he added, there was no survival value in being able to decipher a health-care initiative, but there was significant value in information about "who needs a favor, who is in a position to offer one, who is trustworthy, who is a liar, who is available sexually, who is under the protection of a jealous partner, who is likely to abandon a family, who poses a threat to us."
We may consciously know that we are no longer living in small hunter-gatherer groups and that it no longer makes sense to evaluate someone like Edwards as we might a friend or intimate partner, but our reptilian brain doesn't realize this. Our prefrontal cortex might reason that a man who cheats on his wife while she is fighting cancer could make a perfectly fine president in a complex world, but the visceral distaste people feel about Edwards stems from there being an ancient part of the human brain that says, "Gee, I don't want to get mixed up with this guy, because even in my hour of greatest need I might not be able to count on him," said Frank T. McAndrew, an evolutionary social psychologist at Knox College in Illinois.
* * *
"The human brain does not have any special module for evaluating welfare policy or immigration policy, but it has modules for evaluating people on the basis of character," said Satoshi Kanazawa, an evolutionary psychologist at the London School of Economics. "That is probably why we have this gut reaction to affairs and marriages and lying. All of those things existed in the ancestral environment 100,000 years ago."
* * *
To read more, click here. For a sample of related Situationist posts, see "The Unconscious Situation of our Consciousness – Part IV," "Seeing Faces," and "The Situation of Kissing."
2 Responses to "The Stone-Age Mind in an Information-Age Situation"
September 2, 2008 at 11:02 am
[…] is, we're supposed to ask, Why? And now there's an answer from – you guessed it! – the evolutionary psychologists. And we can know without reading any of it what it will say. Here goes. Long, long ago it was […]
September 3, 2010 at 9:10 am
I am a 8th grade teacher in NC and came across your site while researching some information about the stone age for my chemistry class this year. I just wanted to thank you for the great information and articles about the the stone age.
We would love it if you could write a few articles for us, but I understand if your busy so a link to some of the current articles would be very helpful as well to help us spread trusted resources to other teachers. I have included a link to the site in case you would like to help us out by linking to it, tweeting it, or adding it to your Facebook profile.
Thanks and keep the great resources coming
Bre Matthews


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A Night Out With the Cast of Southland
The Pacific Dining Car near downtown Los Angeles is the kind of old-school, coronary-clogging restaurant where the walls are green, the steak is red and the clientele is LAPD blue. You won't find a Lohan or a Kardashian hanging out here, and the closest they have to a juice fast is a filet mignon smothered with Roquefort cheese. So it's only fitting that this is where the cast of the cop drama Southland has chosen to do an interview with TV Guide Magazine after a long day's shoot; the show prides itself on keeping it real. Plus, these actors are hungry. "We never get to eat food on the show," says Michael Cudlitz (Officer John Cooper). "We always say, 'What do you want to order and throw out today?' Because we get a call [on the police radio] right in the middle of eating - every time."
TV Guide Magazine: Do you guys hang out together often?
Cudlitz: We get together as a cast more often than most groups do.
Ben McKenzie: We have a really small cast. For those of us who survived, through luck of the draw, really, it's like a bunker mentality. We are the little show that could. We bonded over that.
Regina King: We have all been working together for a while, and we've never had any altercations.
C. Thomas Howell: Oh, when you're not around, I trash you! [Laughs]
TV Guide Magazine: It seems like you guys really get along.
King: It's very rare that you get an opportunity to be on a show's fifth season and you still really like the cast members. The show we shoot is not easy. We see our trailers in the morning and that's about it. We don't have cast chairs, because we're moving all the time. We shoot like we're doing a student film.
Howell: The show is really authentic. It's mandatory that people show up to the set prepared. Because we don't have the extra time at our locations. We're there for an hour and we have to go for an hour. We're ready on Take 1.
Shawn Hatosy: You might fumble a line and it ends up on the show.
Cudlitz: We're on a show where we're paid to be ugly. There's something real about that that the audience can connect to. There's a homogenous quality sometimes on network television, where actors are just standing around looking pretty.
TV Guide Magazine: What does the LAPD think of the show?
Cudlitz: I'm sure people aren't going out of their way to tell us the show sucks, but generally speaking, we've all been approached by large numbers of cops saying they respect the attention to detail and [that we're] getting it as right as we get it.
McKenzie: If you polled them, I think they would say this is the most realistic cop show besides NCIS: LA. [Laughs]
King: We were literally shooting down the street from NCIS: LA recently and we had our whole stunt team do a full-on fight scene. We shot everything - and they were still lighting their set.
TV Guide Magazine: Have you ever caught a break from the cops because of the show?
Howell: Tell your story, Ben!
McKenzie: There's no way to tell this story without sounding like a douche. Audi gave me an R8 to drive for a week. So I'm coming back with my then-girlfriend from Palm Springs, and sure enough, we're pulled over. I'm freaking out because the car is not registered to me. The cop's like, "Hey, are you who I think you are?" At which point, two possible scenarios crossed my mind: First, he recognizes me from The O.C., which means I'm getting dragged out of the car and he's gonna rail on me, or the second. So I go, "Southland?" And he just nods his head, hands me back my license and says, "Watch your speed."
Hatosy: I was riding a skateboard and this cop pulls up to me and says, "What the heck are you doing? Cops don't ride skateboards!"
King: I have never gotten out of a ticket since I've been on Southland! I've gotten two since I've been on the show.
Cudlitz: I was at the self-checkout in Ralphs and this guy in front of me was having problems with another machine. He starts shouting, "Can I get some help? What the bleep is going on here?" And he gets louder and louder, and there are kids around. The manager comes over and the guy keeps shouting. And I finally just said to him, "You know what? Why don't you just stop?" And the guy says, "Who are you? A cop?" And I said, "No, but I bleeping play one on TV!"
Southland airs Wednesdays at 10/9c on TNT.
Subscribe to TV Guide Magazine now!
View original A Night Out With the Cast of Southland at TVGuide.com
Other Links From TVGuide.com


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5-year-old mayor loses re-election in Minnesota to 16-year-old
A 5-year-old boy's run as mayor is over in a tiny tourist town in northern Minnesota.
Robert "Bobby" Tufts lost his bid for a third consecutive term as mayor of Dorset on Sunday. Eric Mueller, a 16-year-old from Mendota Heights, Minnesota, won when his name was drawn from the ballot box during the annual Taste of Dorset festival.
Bobby was only 3 when he was first elected mayor in 2013. Dorset, about 150 miles northwest of Minneapolis, has no formal city government and a population ranging from nine to 28.
"It was fun, but it's time to pass on the vote," Bobby told The Associated Press by telephone Monday. Then he suggested his little brother get a shot at some point: "I'm gonna let James do it. He's 2."
People can vote as many times as they like in the "election" -- for $1 a vote -- at ballot boxes in stores around town. The proceeds go toward organizing the festival.
Bobby said he was proud of his efforts to raise money for the Ronald McDonald House Charities of the Red River Valley in Fargo, North Dakota, One of his other major acts was to declare ice cream top of the food pyramid.
His mother, Emma Tufts, said family members joked about having Bobby and James build up a political resume to prepare for a presidential run in 2048. But she said she's happy that Bobby will get a break. Now, for example, he can catch candy at parades rather than be the one throwing it.
"He really enjoyed being a kid in some festivals, not having to perform," she said.
Eric, the new mayor, said he came up with the idea to run after he ate five fried ice creams at one sitting. He'll be a high school junior this fall.


text:
LEGO Marvel Spider-Man: Spider-Man and Sandman Showdown (76172) playset is a super-fun, super-quality playset for budding superheroes. Designed especially for ages 4 and up, it encourages shared play and delivers developmental benefits. A special Starter Brick chassis helps youngsters get started and discover the joy of constructing something by myself. The included simple guide to building and playing helps them (and their grown-up helpers) develop creative construction skills. For more building fun, the downloadable LEGO Building Instructions app includes digital Instructions PLUS, which allows kids to zoom, rotate and visualize their playset as they build. A LEGO 4+ playset is a treat for toddlers and parents alike. While adults pass on their construction skills, they share precious developmental milestones with their budding builder. Measures over 1 in. (4 cm) high, 3 in. (9 cm) wide and 2 in. (6 cm) deep.Contains 45 pieces.
Product Includes - 45 pieces
|Assembly Required
|Batteries Required
|Manufactured By
|LEGO Systems A/S DK 7190 BILLUND DENMARK
|Imported By
|Trucarekidz India Private Limited
|GST Rate
|HSN Code
|Sub Category
|Building & Construction
|Minimum Recommended Age
|4 years
|Country of Origin
|0.117 kg
|140.0 mm
|60.0 mm
|120.0 mm
For any queries, the Funcorp customer service helpline(+91 6291236626) is open from Monday to Friday 10 am to 7 pm and Saturday 10 am to 5 pm. The helpline is closed on Sundays and National Holidays, but if possible Funcorp will try it's best to resolve queries as soon as possible.
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FunCorp ships its products to all parts of India, with a few exceptions. Orders placed before 12 pm will be shipped on the same day, and the rest within 24 hrs of the time of order, whichever is closer(except for Sundays and holidays). We ship on all days except Sundays and National Holidays or Regional Holidays that fall around the warehouse the product is being shipped from.
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Such items are expected to be released soon and can be pre-booked for a customer. The item will be shipped to the customer within 5 days of FunCorp receiving the first shipment from the respective brand.


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12 Ways to Create a Cozy Porch
Use our easy decorating tips to pretty up your porch with all the cozy comforts of an indoor room. Then sit back, relax and savor summer—alfresco style.
Set a serene vibe
An out-of-doors living room ensures all-day lingering. Incorporate comfy seating positioned for chatting with neighbors or curling up with a book.If sheltered, traditional wicker gives the porch a quintessential summer look. For a more durable option, try all-weather wicker made of resin or teak pieces. A washable cotton striped rug delineates the seating area.
Take your meals outside
Transform a summer meal into a memorable affair by taking it outside. At this table, a mix of flea-market chairs gives the party a laid-back country feel. Slipcovers made of outdoor fabric dress up hosts' chairs. Paper parasols in pastels create an inexpensive casual "chandelier."
Make easy summer-inspired decor
For simple centerpieces, arrange potted succulents or herbs under glass cloches. A floral all-weather tablecloth echoes the outdoors.
Try a dish display
Keep extra dishes in open storage for quick access during meals--and a colorful summer display.
Brighten with flowers
Highlight each place setting with a summer bloom, such as these dahlias, floating in a dessert bowl.
Have sweet spots
Carve out serving areas from other parts of a porch. Delight guests with a dessert and beverage table topped with treats. Frosted cupcakes look even sweeter with mini paper flags that spell out seasonal messages. Elevate a lemonade dispenser on a cake stand to make pouring easy. Shade it all from the sun with a paper parasol.
Fashion outdoor accents
Shade seating with removable fabric panels, constructed of outdoor fabric. To make: Back patterned fabric with a second fabric layer for stability; add grommets at the top, and hang from cup hooks. To prevent blowing, clip weights to panel bottoms.Accentuate the look with low-cost details. Large paper lanterns create the effect of pendant lights. Pillow shams double as pretty covers for plain chair cushions.
Use smart serveware
Repurposing flea-market finds gives your porch a clever and personal twist. Here, a collection of Mason jars gathers summer blooms. Set on a vintage-look tray, they're portable and ready to add a colorful accent to any porch corner.
Turn shutters into art
A simple way to dress up a porch: Lean a colorful reclaimed shutter against the wall and use it as an easel for vintage art.
Relax in a quiet corner
A hammock piled with pillows serves as a relaxing, shaded afternoon nap spot.
Go for cozy
Hinge together flea-market shutters to create a tall backdrop, such as this room divider, to make a lone bench feel sheltered and cozy.
Reflect the view
Hang a mirror to artfully reflect outdoor views.


text:
Richard Armitage, gender trouble, and status expertise
[This is a theoretical post / building block.]
Guy of Gisborne (Richard Armitage) importuned by the Sheriff (Keith Allen) in Robin Hood 2.6. Source: RichardArmitageNet.com
I've referred occasionally, particularly while discussing Guy of Gisborne, to what I've called Guy's "gender trouble." The first time I said it, no one noticed, and the second time, two very astute readers said, "What do you mean?"
I've been wanting to write about this idea for years, and just never felt I had the time. Recently a few things came together in my awareness of Armitage, and then I saw a Richard Armitage confession that made me think a lot, and Judi mentioned some of the questions around the gender elements of Guy's appearance, so it seemed like a good time to start dealing with this question. My attention's been fragmented, and I'm not sure this is going to be as well-organized as I'd like, but it's time to starting making good on my insight about writing from the Fall if I want to get somewhere on my goals for the blog.
I'll begin by defining what I mean (and don't mean) by "gender trouble" and continue by talking in very general terms about how I think the concept illuminates pieces of Richard Armitage's work — Guy of Gisborne in particular, but also almost every other major role he's done from Paul Andrews in Between the Sheets, to the "role of his life" so far, in which gender is up for grabs: Thorin Oakenshield. I did a post on how aspects of this idea applied to John Porter in Strike Back 1.1 without, however, calling it "gender trouble." I hope to write periodically about how I see this dynamic working itself out both in Armitage's dramatic performances and its intersections with his performances of self.
Harry Pearce (Peter Firth) expresses concern over Lucas North's (Richard Armitage) capacity to return to work, in Spooks 7.1. Source: RichardArmitageNet.com
Longtime readers know that I'm a fairly strong opponent of the notion that it's primarily biological qualities or "human nature" that affect our perception of and response to the person and work of Richard Armitage. My position on questions like this was heavily influenced by my discovery during grad school of the now-famous book, Gender Trouble (1990) by Judith Butler, professor of English at UC-Berkeley. In college, I learned that theorists had come to distinguish between "sex" (the physiological quality of being male or female) and "gender" (the cultural expression of being male or female). This division probably seems relatively uncontroversial, as simple observation of culture reveals changes in femininity and masculinity over time. Butler's most important contribution to gender studies involved assertions against this view. Gender Trouble presented a series of essays that critiqued the vestiges of essentialist views of sex, gender, and sexuality in the theories of sex and gender then prevalent. Butler argued that sex itself is not inherent in a particular kind of a body, but culturally constructed through a series of acts over time that cause observers to associate (for example) the expression of masculinity in gender with the male physical body and the sexual desires of those two with the notion of a male kind of desire, or sexuality.
In other words, Butler's most important contribution to gender studies was the idea that sex, gender, and sexuality are performative rather than inherent to a particular form of body. (NB: This assertion makes the concept particularly useful to examining the work of any actor.) On this view, seeing someone whom we identify as "male" is a matter not primarily of identifying the body (sex) of the person who occupies a gender, but rather of understanding the performed actions of the person in relationship to other actors and observers (including ourselves). A simplified way of putting this, on Judith Butler's view, would be to say that a man is not so much a person who has a penis or a beard, but rather a person who performs masculinity successfully. To put it crudely — we know that Richard Armitage or one of his characters is a man not because he has the necessary (to us as viewers mostly hidden) primary or (in some cases visually prominent, as with the beard) secondary sex characteristics of a male (though he might / does), but rather because he acts like a man. And the masculine quality of a man is never something essential, but always a matter of context (personal, social, historical, cultural). This argument — that our current notions of binary sex are constituted by performances rather than physiology — is probably the most notorious claim associated with Butler's work.
Harry (Richard Armitage) comes back for one last look at Geraldine (Dawn French) in Vicar of Dibley: The Handsome Stranger. Source: RichardArmitageNet.com
Hope everyone follows the argument that far, even if you disagree. Please note that Butler's not claiming that there is no such thing as a body or that primary or secondary sex characteristics have no meaning — although, in a point that's relatively less important to what I want to say about Richard Armitage, she would assert that the physiological qualities of the human body are much less binary than the scientists of the nineteenth and twentieth centuries have led us to think. Rather, on Butler's view, the physiological quality of the body comes to have meaning through performances of gender. Her point would be that the perception and meaning of the apparent physiological qualities of sex are created by how people act and how others perceive those actions. So she's claiming that our perception of the body is unavoidably constituted by culture and society. In order to have a particular physiological sex, Butler would say, one must act that sex out via a performance of gender. Only then, through perception, does one come to embody a particular sex.
Additionally, drawing on the work of Michel Foucault, Butler went on to note that performances of sex, gender, and sexuality are not exclusively independent choices made by the person performing them. As a person becomes a man via his performance of masculinity, he does not decide himself or on his own or even necessarily consciously how to do so. Rather, in identifying himself as a man, performing masculinity, and experiencing male desire, he both acts in response to and in turn contributes to systems of social rules about masculinity. (I would call these "discourses," but I know that raises hackles among a certain group of readers). These social rules (Foucault called them "disciplinary regimes" because they have the effect of coercing results) make a gender appear "natural" (so that we say that certain elements of performing masculinity are inherent, natural, biological, etc.) Note that an important component of this activity in our society is the performance of the other gender in the binary system, as well as the performance of gender transgressions of various kinds — so that when fans like us react to a performance as particularly "masculine," we not only act to define that term, but in doing so, we also perform our gender (whatever that is) ourselves.
***John Porter makes a crack about "conjugal visits" when Layla (Jodhi May) appears in Chikurubi Prison, in Strike Back 1.3. Source: RichardArmitageNet.com
Drawing in Foucault raises a third essential moment of Butler's argument: performances of gender are a means of constituting and negotiating power between parties involved. Not all performances are successful, not all are created equal; some are deliberately parodic; but a successful performance of gender is one that offers its performers a means of taking or losing or mediating power as the performer desires.
Summary of this section, then:
When I write, in the analysis of a scene, that an Armitage character finds himself in gender trouble or creates gender trouble, I am arguing that something in Armitage's performance of gender in that particular setting makes the traditional or expected gender/power axis unstable.
I would also argue that Armitage's games with, or even at times outright subversion of, gender performances constitute a striking feature of his acting style, which brings me to my next point, but.
How could it be otherwise? Two caveats.
Mr. Thornton (Richard Armitage) kisses Margaret (Daniela Denby-Ashe) in episode 4 of North & South. Source: RichardArmitageNet.com
Before I get there. First. Longtime readers of the Armitage blogosphere may remember a few posts that RAFrenzy wrote in response to Strike Back and Spooks 9 about Richard Armitage as alpha or beta male in various roles he played (particularly here and here). I'm not so much disagreeing with her as taking a different, more contextual, performance-oriented route to approaching my discussion of Armitage and gender. The main similarity in her argument to mine is the congruence that we can observe varieties of ways to appear male and that Armitage's work mixes these varieties up in interesting ways. However, I wouldn't have chosen that schematic for explaining Armitage's work. First, in its original articulation, the alpha / beta distinction is essentialist in its reliance on dynamics of animal behavior. Second, I haven't found it very useful for explaining human interactions, mostly because the exercise of gender power is so much more subtle than simply whether someone is acting aggressively or less aggressively. In my perception, power, its expression, and its exercise are more complicated than simply dominance and submission, leadership or hanging back, silence or articulation. Alpha / beta discussions assume the very standards that I'm trying to critique here — and that I think Richard Armitage's performances often subvert. I want to decide from within the scene just exactly how Armitage's work assess and attacks, overtakes, or undermines the gender dynamics, not start from a previous assumption about what exactly constitutes dominance (and whether Armitage's performance achieves that standard). Finally, the circulation of gender performances and power are not unidirectional; they do not result solely from the choices of a performer, but also emerge in the responses provoked in him and which he provokes in others. I'm hoping that gender trouble will provide a more diffuse, less rigid framework for looking at Armitage's work than comparisons to biologistic schemata.
And second: It's really important to me to emphasize the contextual quality of the arguments I will be making. Although I think certain patterns in Armitage's manipulation of or responses to gender / power in his dramatic work can be observed, I am not talking about Armitage's own personal notions of gender or sexuality, about which I have the necessary information to say exactly nothing, and I will keep it that way. I know that some people will misunderstand what I'm saying here on purpose in order to serve their own ends, so let me say clearly: I AM TALKING ONLY ABOUT ARMITAGE'S PERFORMANCES OF SEX, GENDER, AND SEXUALITY HERE. When I say, "Armitage performs sex / gender / sexuality in the following way," I am not saying "Armitage's sex / gender / sexuality is as follows." To assert "Armitage performs desire" is not the same as asserting "Armitage desires." I have a lot of information about the first and none about the second. I hope everyone keeps this difference in mind as they read these posts.
So, to summarize what I've been trying to say so far: Armitage's acting draws interest, I will argue, via its gender performances.
Lucas North (Richard Armitage) the moment after kissing Sarah for the first time in Spooks 7.2. Source: RichardArmitageNet.com
What I want to add as a second but equally important point is also verges on something I've talked about before; that is, Armitage's use of power and status negotiations between characters in his acting. Understanding Armitage's work from the perspective of performances of gender enhances our capacity to evaluate them as performances that are inherently and always about power and negotiating power. Even more than the creation of gender trouble in Armitage's acting, the theme of status negotiation may be the most striking feature of his work. Armitage is what one calls, as I've mentioned before, a status expert. At the time I broached that topic, there was some suspicion of what I was saying, apparently, but I think it's perhaps clearer now that the matter of power plays a role in his own thinking, in light of his own remarks about his status vis-a-vis Gandalf (and how Ian McKellen gave Armitage his status) and what he's said about the nature of Thorin's leadership in some of the press about The Hobbit.
Armitage uses both conscious and unconscious moves, along with an employment of some of his more marked physical characteristics, to negotiate power. I'm thinking about things like the variable permeability of physical boundaries that he signals with his body; hand, chin, lip, mouth, eye, and head position playing counterintuitively against the status he gains by being tall; particular gestures that we see often enough from him that they appear to belong to a repertoire (though Thorin Oakenshield has significantly complicated an assessment of such tendencies). I'm also thinking of characteristic styles of speaking, particular vocal timbres and pitches that signal particular emotional responses; and the way that all of the above are used to create responses that in turn provoke.
I had originally planned to talk about some examples of this second point, but I am going to leave it for now and hopefully move on to examples as soon as I can.
And I want to add one last point — Armitage's performances of gender and power are executed in ways that may be likely to appeal to particular segments of a female audience. Now there's a cliffhanger assertion.
More soon.
102 Responses to "Richard Armitage, gender trouble, and status expertise"
"I know that some people will misunderstand what I'm saying here on purpose in order to serve their own ends…" Question:
When you state this, do you mean it as a general assertion of human behavior in the inevitable statistical sense of the number of possible reactions, or are you specifically thinking about one or more people you have chosen no to name in order not to fuel the fire? What catches my attention is the use of the words "on purpose". I ask because – if you did not have anyone specific in mind when you wrote that – then it makes it sound like you believe that those who say they disagree with you or simply do not understand what you are saying or where you are coming from. are pretending to do so in order to rile you up. The whole sentence stuck me as strange. If your reasons are private and none of my business, please accept my apologies. Thank you.
Okay, I'm following, interesting stuff, learning new words (biologistic schemata). But did that last line mean you're really going to tell us? Why women of a "particular segment" cough (age?) and Armitage? Or am I still just water wings in the shallow end.
And something even more diabolical raises it's head in my world…is he doing it, knowing exactly what he's doing? I mean, fully understanding his appeal to a "particular segment"? Because then I feel, manipulated, cheated, not sure? Or is is back to our old friends, biology, society, training…it's is so late at night for me to still be typing….
Tip-toeing around your stake, Servetus… I admire your courage and wait eagerly for part two; though I'll probably find myself in disagreement as I often do, these posts are always stimulating. Thank you.
Completely fascinating. You are stretching my brain, and I love it! Please continue as you are able to do so. I really feel you are onto something essential with regard to the perrenial question: Why Richard?
This is really fascinating and I look forward to reading more of your thoughts and the readers' reactions. While RA may or may not be familiar with Butler, I suspect he gives much thought to these types of issues when creating a character's biography.
For example, why insist on remaining nude during Lucas' torture scenes when the director offered to allow him to wear some clothing? Was it because of the stark contrast between traditional hallmarks of physical masculinity which exude strength, power and control compared with the degradation, humiliation and utter powerlessness caused by what was happening, and the recognition of a person being considered vulnerable when unclothed (at least according to some cultural standards)? I don't join CarlyQ's fear that he works within blurred gender roles to ensnare a female audience of any type–I think it's simply an actor making choices so that the character makes sense to him and becomes more alive. For example, his recent comment that he would have asked Tolkien if Thorin had a love of his life, and his surmising there would likely have been a princess, was not, I believe, a moment of "Gee, let's see how many of these ladies will say 'awwww, isn't that adorable'" but really a question a thinking actor would have. Thorin as heir to the throne would certainly have had a match, even with the scarcity of dwarf females, because of his status, whether he wanted one or not. Power and wealth would have made him an attractive choice and the necessity to continue the line of Durin would have played a part as well. But it is much more complicated–was it a political match or a love match or both? If he "lost" her along with the throne, was she killed during the attack (prompting even more personal sorrow) did she reject him because he no longer had status and had failed to protect his people, or even her own family (increasing Thorin's humiliation and shame) or (what I believe) did his shame and need to take back Erebor cause him to jettison someone who was personally meaningful to foster the welfare of his people (highlighting his nobility)? There are hundreds of clues as to Thorin's character which would have been filled in if Tolkien stated whether or not Thorin had a partner or possible partner and what his feelings toward her and interactions with her were like. RA is an intelligent enough actor to have considered the possibilities to form his character. Does he smile at Kili simply because he is fond of his nephew or is he also wistfully envisioning a son he didn't have? Would he be a less bitter man-even with having lost his throne-if he had regular interactions with a partner? How would Thorin's exhibited masculinity be different depending on the answer to the question RA would have liked Tolkien to answer?
What a fascinating post, especially your cliff-hanger! If you're going where I think you're going, I look forward immensely to further posts on this subject. I don't know if it is a deliberately malicious manipulative method of acting designed to appeal to a certain "type". I think it more likely that he saw the response to N&S and purposely honed those mannerisms/methods in order to keep up the success. I cannot imagine how such a response as he won with N&S would not inform his further work. It seems to me that he is obsessed with his work, and having cottoned on to what succeeds, he would be a fool not to capitalize on it. And a fool he is not, I think.
I wonder if all handsome actors are analyzed as deeply as this young man has been. Maybe he is just a really cool guy.
Lots of food for thought here. I'm looking forward to further posts on this subject.
Wow, to say this post is thought-provoking would be an understatement. Having discovered Thorin fan fic, I was wondering why character ran the gamut of sexual preferences. Watching the movie I did not feel any sexual ambiguity from the characters. it just wasn't on my radar. I even asked my son who used to write and read a lot of Manga why there is so much m/m parings for this movie. Was it because Thorin gave BIlbo a big hug on the carrock? He said that happens all the time in fan fic and the carrock scene didn't have anything to do with it. But would this choice of hugging create gender trouble and would it not be the director's choice? I guess what I would like to explore is how much gender trouble comes from Richard. the writers or director since film is such a collaborative medium. Thank you for sharing your thoughts and I apologize in advance if I am off base. I am still unclear on what gender trouble is exactly. Is it sending a subtle message of gender ambiguity? Is it something old movie stars like John Wayne didn't explore and now actors feel freer to do? Like all good writers, you raise many more questions than you answer. Well done, even if your post went way over my head.
I have to sit here by Kathy Jones for a bit! Thanks for letting me know I'm not the only one who didn't realize there was such a question about Thorin. I don't regularly read other blogs, or get on Tumblr, though I have read some Hobbit fanfic that I saw on Legenda. I was aware of Bagginshield and Durincest but not that there was so much discussion about that among fans.
I'm curious to hear what you think about how much of it is up to PJ and other directors/writers, what feeling or question are they trying to raise with these moments. Or is it only Mr. Armitage in that scene that would bring on that discussion. Ex. If another actor were portraying Thorin and hugging Bilbo, would there still be so much discussion? What about a Fili/Bilbo hug or a Kili/Bilbo hug.
Thanks Kathy, for reading my mind.
Não sei o porque de toda essa análise e discussões, só sei que, para mim, RA reune em si mesmo as caracteristicas e a beleza dos 3 homens mais lindos e machos que conheço: Hugh Jackman, Gerard Buttler e James MacVoy.
Em poucas palavras, RA é para mim o resumo de tudo oque vem a minha mente quando penso na palavra HOMEM !! Beijos! Obrigada por postar…
Very much looking forward to the next instalment, Serv. As with many of your analytical posts, I spent quite some time down the rabbit hole chasing previous links so I could fully grasp your meaning- most intriguing!
thank you for posting the link to the story about the woman with facial hair. it made my day. I have re-read this post three or four times. the word that is bothering me is "trouble." I can't get my head around it, it seems like the wrong word. I want it to be gender bending or elastic, not gender trouble. Maybe I am missing the entire point?
I've been looking forward to this analysis and it's going to take me awhile to digest all you've written, but I'm wondering if I'm on the right track: the gist of the theory is our sex is based on our genitalia; however we perform a gender based on what's accepted/expected from our culture?
[…] interesting. Thus this scripting — whether I like it or not — makes the show ripe for a gender trouble analysis. In particular, the Paul / Alona relationship is conceived along these lines. Alona is performing […]
[…] and reassurance works so well in Sparkhouse (and it could be read as a subtle permutation of gender trouble, to some extent) is that it comes, not from an obvious place of strength, but from a clear place of […]
[…] But the Cinemax interview raised a question for me that's germane to Armitage's broader appeal to female audiences, a matter that's come up here and there over the years. Why is it that Armitage's fan base is so heavily skewed toward women? Why does a certain kind of woman fall for Armitage? Many answers can be offered to that question and this post doesn't seek to mention, let alone plumb, them all. Obviously, his pronounced talent and physical beauty both play a role in his appeal. I could also list his breakthrough in North & South as a costume drama hero with all sorts of traditional appeal to female readers; his tendency to play heroes or very sympathetic anti-heroes; and so on. I have other answers I'll explore more fully as I keep writing, one of which relates to the regular involvement of his characters in status games and gender trouble. […]
[…] having babies, but of building and perpetuating things), even though both modern and premodern men display the characteristic desires of men that signal and thus perform their masculinity to onlooker…. To make a much-too-bald distinction, the male gaze exists in both cases, but the pre-modern male […]
[…] thing most on my mind after last night is the way Armitage genders Proctor, as it seems like a significant portion of the way in which he creates the […]
[…] Things about the narrative he's been occupied in constructing for the last two years about how his sexual orientation was never that big of a deal just don't wash. Reading this Radio Times article made me wonder if he's actually forgotten Spooks; episode 8.4 made pretty clear that there something "definitely not 100% straight" going on there. The fanfic on DreamerFiction at that time posited all kinds of things from coercion to secret affairs and that was all spawned by Armitage's performance in that episode. No fan will actually be surprised by that possibility — and we could take it further. Not everything about Guy's relationship with the Sheriff was "100% straight" either. (Again, the fanfiction about this was wild and the fans didn't construct that out of nothing; there was a weird power dynamic ongoing.) Pretty much every performance Armitage made in those days raised questions about gender trouble. […]


text:
Third summit to discuss Flint Hills development
The Associated Press
Kansas officials will hold a third summit meeting next month on economic development in the Flint Hills.
Gov. Sam Brownback will host the meeting Jan. 11 at the Rock Springs 4-H Ranch south of Junction City.
The Flint Hills region is generally defined as an area of eastern stretching from just south of the Nebraska border to the Oklahoma line. Brownback has placed an emphasis on developing economic initiatives in the Flint Hills region.
One goal of the summit meetings has been to come up with ideas for developing a tourism economy in the region to take advantage of its natural beauty.


text:
Office Phone:
View Phone Number
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Ward Wight Sotheby's International Realty
208 East Main StreetManasquan, NJ 08736
View my Additional Website
So you're ready to buy a home. Finding that perfect home can be a great adventure. Seeking out the mortgage that's right for you can be difficult. There are a dozen or more options available for financing a home, and it's important to consider the pros and cons of each. Before looking into more complicated choices, consider the most common.
The most common home loans are the 30-year and 15- year fixed rate mortgages. With this type of mortgage a lender amortizes the interest rate and the home price over 15 or 30 years depending on the loan. You are given a monthly payment that never changes over the life of the loan. Fixed rate mortgages have been extremely popular over the past several years because interest rates have been so low. According to Freddie Mac, an organization chartered by Congress to expand opportunities for home ownership, the current 30-year mortgage interest rates are at their second lowest average in 32 years. Homeowners also enjoy knowing that their monthly payments will never change.
If you decide to go with a fixed rate mortgage, consider both the 15-year and 30-year fixed rates. You might be surprised to know that monthly payments on a 15-year fixed can be only slightly higher per month than a 30-year fixed, and the savings on interest over the life of the loan can be substantial. Rates for a 15- year fixed (5.23% avg) are also lower than those of a 30-year fixed (5.75% avg) according to Freddie Mac. So, if you borrow $200,000 against these two average rates, your monthly payment for a 15-year fixed would be $1,606 per month, paying $89,018 in interest over 15 years compared to $1,167 per month for a 30-year fixed, which will cost you $220,172 in interest over the life of the loan.
Another common mortgage is an Adjustable Rate Mortgage (ARM), popular because it offers even lower interest rates than fixed rates with some as low as 3.5 or 4%. Lower rates allow the borrower to afford more home, but with ARMs, the rate only stays stagnant for a limited period of time - 1, 3 or 5 years.
This type of loan is a great choice for borrowers who don't plan to be in the home longer than the fixed period. The current ARM rate averages 4.17%. Using that rate on a $200,000 loan, the borrower would pay $975 per month, but once the ARM adjusts after a fixed period, the monthly payment could jump substantially, and it adjusts every year thereafter for the life of the loan.
If you're considering this type of loan, make sure your lender offers some protection against a huge interest rate increase with a cap. Caps restrict the amount the interest rate of an ARM can adjust. The two most common caps are Periodic Rate Caps which limit the amount a rate can change at any given time and Lifetime Caps which restrict how much the interest rate can rise over the life of the loan. Some lenders also offer a conversion feature on an ARM that allows the borrower to eventually convert it to a fixed rate for a fee.
Whatever loan you choose, make sure you understand all the fees associated with it. Use a mortgage company with a good track record and talk to several lenders.
For more information: http://www.freddiemac.com http://www.fdic.gov/about/index.html http://consumer.gov/


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Drawing 'Expression Of Learning' by Michel Montecrossa
Description: 'Expression Of Learning', Mirapuri, 29th May 2016, pencil on paper, 29,7 x 21 cm
All Michel Montecrossa Paintings and Drawings are available as High Resolution Digital Art Prints on canvas, either in standard-size A1 (59,4 cm x 84,1 cm) for 1000 €uro each plus shipping or on demand in other formats.
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Read here about 'THE ENERGY OF ART' ART EXHIBITION of Michel Montecrossa paintings and drawings at the Mirapuri New Art Gallery (Mirapuri-Coiromonte, Italy)


text:
edit {the pattern is a Burgoyne Surrounded..thanks PKM}
it wasn't long before i remembered that there was a double wedding ring quilt that had been passed down to me... i took it out and started searching the back... and found AEK 1939.
She is such a beautiful woman. And those are really beautiful quilts. I hope your family brings you comfort... Thank you for sharing your story; it made my eyes water up.
I recently made a quilt for my Grandma after her 5-way bypass (you can read about it here http://tigers4trace.blogspot.com/2009/12/quilt-that-almost-was-and-quilt-that.html) ... and was looking for red hat fabric, but didn't find any, so Aster Manor it was. I think quilts are just so special, because you feel loved with each and every little piece.
Thanks for the shout out. I love you little sis.
What an amazing story! Thank you so much for sharing. Condolences to you and all your family
WOW, what a story. And Boda rhymes with Moda!
Thanks for sharing - that was truly amazing - just like you!
Love, Mer
It's so hard to lose grandparents. I hope you all are comforted by each other and the loving memories your have of your mommom.
LOVE the history of the quilts. That's awesome!
What a wonderful story. So sorry you lost your Mommom - she had a beautiful smile. As our priest said once, no matter when it is - it's always too soon to lose your mom.
That's cool all the stuff you were able to find about your family from so long ago, all through the quilts. Those are two wonderful pieces of inspriation for your future quilting!
Thanks for sharing this great family story. Although we all have the family history book, unless there is a connection, it just seems collects dust. I am so glad that your quilting brought out the book. And the quilting gene lives on...
I know first hand how much Mom-mom Emmy loved the quilt you made for her. It is filled with love from you and now love from her back to you!
Keep up the good work! I love you!
Aunt Mary Lou
What an absolutely beautiful post. You have an amazing family history. So sorry about your Mommom's passing. She was a beautiful lady.
What a sweet, sweet story. You mom-mom was a beautiful woman. You were so lucky to have had such a special relationship with her. She'll be with you forever. Thanks for sharing this with your blogging friends.
Thanks for sharing this beautiful family story. What a precious gift that you're able to hold on to - in so many ways.
So sorry for your loss this week. What a beautiful story, and what beautiful quilts! I am happy for your silver linings! Thanks for sharing.
Thanks for sharing your journey! How exciting that your mommom left you such a legacy! See, Quilting is in our genes! I hope these quilts and the history you have discovered will help you heal! The loss of a loved one is always difficult! You are in my thoughts and prayers!
I'm very sorry for your loss, but so happy for you that you found that quilting connection.
I am the "first quilter" in my family that I know of. I can imagine how much you will treasure your newly found quilts.
Glad you found some comfort during this time of sadness. And glad you found got to find out some family history too.
Julie, what a poignant and touching series of events for you and your family. I'm so sorry for your loss. The quilts that you now have tell a story of the person who made them...it must be a treasure to look carefully at all those stitches made so long ago. A little of your great,great grandmother and her hands that touched the fabric and sewed those seams with great care, is alive in them...and now in you. How beautiful. I hope you find some solace in the days ahead.
What a wonderful experience out of such a heartbreaking experience. Thank you for sharing. May you find peace with your much loved quilts.
Such a beautiful story. I loved reading about it. What a special treasure your quilts are. Thanks for sharing.
What a beautiful post...it had me chuckling, grinning, and tearing up...my condolences to you and your family...is there any greater feeling than knowing someone you love absolutely loves and cherishes something you make for them??
I had to stop reading your post...you brought tears to my hormonal eyes....what a lovely lovely story and enjoyed the quilts. I am sorry for your loss but you have some wonderful memories.
Such beautiful quilts. You truly have wonderful heirlooms. I am so glad that you were able to find out this information about your family history. It is so important and you will be able to cherish those quilts even more now that you know more about them. You will be able to share these stories with your young family and they will be able to share it with theirs when they are older. Such great things to pass on. I am very sorry for your loss. Thank you so much for sharing your story with us. It is very touching.
Sorry about your grandmother Julie. What a lovely story though -- and how fortunate you are to have those beautiful family treasures!
Julie I'm so sorry to hear about your grandmother. She sounds like she was a wonderful woman.
....and how great for you to have those quilts AND the history behind them !
I'm so sorry for your loss, even when you're waiting for it, it definitely does not make it easier. Your post brought tears to my eyes, and I sniffled my way through most of the post. You captured the very reason I quilt. My quilts are far from perfect, I still consider myself a beginner, but I like to think that one day, something I've made will bring comfort to someone I loved. My grandmother was a quilter, and I have two of her quilts, and I will pass them down to my two kids. Thank you for sharing your history with us, what a beautiful story, and those quilts are definitely items worth treasuring!
So sorry for your loss.
Your Burgoyne Surrounded quilt is lovely. Two color quilts are so wonderful. Love that its done in purple.
I'm sorry to hear about your mommom's passing. It is never easy. What a treasure to find such great family heirlooms. Then to have the family history right there to be able to see who made them. That's so awesome. The quilts are beautiful. What a blessing. The quilt you made your grandmother is wonderful too. I am sure she treasured it. Take care.
What an amazing story and so sorry about your mommom passing away. In such a hard time, it is nice that there are still moments of joy that can be found. It is especially nice that your family has some recorded history to look back to.
aww how sweet, and those quilts are gorgeous!! it's pretty amazing. I gave my grammy a quilt recently, well, the other day I called to say hi, and she started crying, she did not notice till after i left the handwritten note on her label. she told me that she uses it every single day, and that she will cherish my quilt for every day of the rest of her life. it made me really happy. I hope to someday receive it back, all worn and tattered. She is 72, and such a beautiful person!! Enjoy those beautiful quilts!!
Incredible! sorry for your loss.
It seems you got the best Christmas present of all -- a lovely family legacy! Merry Christmas!
Wonderful tribute to 'mommom' and a heartwarming story. I too have inherited many handmade quilts which I cherish. May your "antiques" wrap you in continuing love. When you appreciate the time, effort,and love that goes into making a quilt, you cherish and keep that circle of love flowing. My sincere sympathy to your whole family.
Love, Judy
I have tears in my eyes! Thank you so much for sharing the lovely story of the ladies in your family.
I am so sorry for your loss, but thank you so much for sharing this amazing story. What a joy to discover beautiful quilting runs in the family!
I'm so sorry to hear of your loss but I loved the story. What a great piece of family history you've uncovered.
Sincere sympathy and condolences to you and your family. I loved the beautiful story of your great great grandma's quilt, it brought tears to my eyes. Thanks for sharing that story. ((hugs))
I'm so sorry to hear about your family's loss. We lost my grandmother on December 13th in 2007. It's always hard to lose a loved one, but this time of year seems to make it even harder.
Thank you for sharing the story of the quilts. They are lovely and it's so special to have such wonderful family heirlooms!
What a beautiful woman! I am sorry for your loss. My husbands grandmother was a quilter she worked very hard to make sure everyone one got one of her quilts. At the time of her death my sister in law wrote this song and sang it at her funeral and put into words what we all felt, and to know that her quilts will be around for many generations. What a treasure you have now.
This link will take you to the song.
What a wonderful story and what precious family heirlooms you now have! I'm sorry it took your grandmother's passing to learn so much about your family. What remarkable women in your history! My sincere condolences to you & your family.
What a beautiful face. It's amazing that in the midst of such a sad time, there is so much joy to be found. There is no bigger blessing than family.
What a lovely post about your mommom, it brought tears to my eyes. My deepest sympathy to you and your family.. I'm happy you found those treasures and learned more about your family. Merry Christmas to you and yours.
Thank you SO much for sharing that with us all. It is such a reminder to us all how important family is and those family stories.
Thank you for such a beautiful tribute to MomMom..You are my sunshine and I am so proud that you will carry on her legacy. She loved you (and that quilt) so very much! Thank you to all of your friends in "jaybird" world who have offered their blessings and comfort!
I love you!
Julie...I'm so sorry for your loss...but so happy for the wonderful family history you've gained...I completely understand your emotions as I experienced them this summer while going through quilts made by my great-great grandmothers! What a beautiful tribute and legacy you have!
Julie - you've brought tears to my eyes! So sorry for your loss, what an amazing history lesson you've had this week. Big hugs to you!
julie, sorry for your loss. I'm sure your Mommom was a wonderful woman. It never ceases to amaze me how much comfort one can get from a quilt. The one you made for your Mommom and the one you got from your Mommom. What a wonderful piece of heritage you have.
God Bless.
Very cool that you discovered a quilter in your family history. How wonderful to have those beautiful quilts in your possession. So sorry about your mommom's passing.
I'm sorry about your angel's passing - it is always difficult when the time actually comes. Now she can join her loved ones and reminisce about all the forgotten joys of life. And you now have beautiful heirlooms that I know you will treasure forever. Sending hugs your way :)
Awesome tale Julie, how blessed you are to have had you Mommom and for the quilts and history of your family. You are doubly blessed for caring so much!
I am truly sorry that you dear grandmother gone to heaven!
You have brought me to tears with your heartwarming post. You have awakened in me some treasured family memories. God bless you and your family as you continue to make memories to be cherished by future generations.
Kristy in Ohio
I am sorry for your loss. I thought you were busy quilting and was sad to ear otherwise. The quilting history is so fascinating.
The loss of your grandmother, and then finding out about the quilts... the one you made for her and her love of it, and the ones made by your great, great grandmother...is a very meaningful connection for you and your ancestors. It brought tears to my eyes as it did many others.
Incredible bits of family history! My sympathies for the loss of your grandmother.
It's an amazing story and I love the quilt that you made. My condolences to you on the loss of your grandmother.
so sorry about your grandmother. My grandmas died in 1992 and 2003 and I still miss them both so much. the quilts are beautiful.
i'm so sorry for your loss, Julie. hugs to you.
Wow --- what an amazing discovery about AEK and who she was! My sympathies go to you and your family. I'm glad quilts can bring all people so much comfort in so many ways.
What a wonderful tribute to your mommom... she is loved, she is remembered, she is missed... hugs to you Julie!
Such a lovely tribute to your grandma. And how special to have both of these family heirlooms!!!
The quilts are beautiful. Your story is beautiful. You are a surprise and a wonder every time I'm in your company or have occasion to learn more about you.
God bless you, Julie.
Christine Ciccone
I am so moved by this story. I just started my first quilt and have been fretting over the care of an Amish quilt I inherited from my grandmother who lived in PA many years ago. She passed away a few years ago, and yesterday I visited my ailing grandfather and fed him dinner. This morning, with quilting thoughts flooding my mind, I visited the UpperRoom website for a daily devotional. Today's was entitled "Grandma's Quilts," and it discussed how we are meant to use gifts, not store them away. Your story seems to confirm a little hello from my grandmother today. :)


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